The Glory That Was

Fvck that rule saying ‘If you have nothing good to tell, then better shut up’. I think there is a need to  speak out on what’s the supposed especially now that I finally gained enough courage to finally post this nearly-forgotten article I wrote quite a long time ago, which found its home on those deep dark corners of my drafts for the past three months already. Finally,

Seven years ago, the EHeads-90s feel was revived with the success of Ultraelectromagneticjam, a highly applauded tribute album for one of the country’s top OPM legends, Eraserheads, under Sony-BMG Music Philippines. This was tough: people doing E-heads covers are de facto suspects. We know they're up to know good and could only mess things up. However, given with enoughly overpowering gigantic interpretations, Imago’s version of ‘Spolarium’ and Southborder’s remake of ‘With a 
Smile’safely found their way towards my heart. It’s such a good feeling to bring back the nostalgia and relive those Eheads good old days, especially for someone like me who was born during the early 90s and grew up with those playful tunes. 

The release of another tributealbum (which I think is not the proper way to call it on its current context) for EHeads, three months ago, is quite disturbing-- a clear bland strategy of those cash-whores to gain more profit by doing senseless shits there is such as repackaging a bunch of historic gems and then resell the whole adulterated/salvaged second- or even third-rated repack to people who long to re-experience those golden 90s days. Sadly, people did buy this bait. This is just another of those manipulative tactics to make more money out of something that has been overratedly cultured throughout these years. 

It wasn’t even a decade yet since Ultraelectrowas released but here’s another, needless to say, lamer one primarily created to crash more cash. Behind these record labels are indeed intelligent business people who know very well how to play the monkey role in this crazy business. And it's a shame that quality has been sacrificed for instant cash-in-flow's sake.

I have nothing against the artists behind that lame The Reunion tribute album. I was rather saddened with the idea of shitting successful hits and overusing these materials losing their very core. What’s even worse is involving even worthwhile artists to conspire on such pathetic stint. I deeply admire Callalily, Hilera, and Tanya Markova, but their interpretations of ‘Minsan’, ‘Kaliwete’, and ‘Hey Jay’, respectively, were not a total shit, the idea of reviving them is a disaster, which shouldn't even happened at all in the first place. Where is the glory with that?

To cut this rant short, this is probably one reason why some people thought OPM is dead.